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Erotismo, Ritualidad Y Regeneración En La Iconografía De Las Tumbas Te- Banas Privadas De La Dinastía 18 301

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Erotismo, Ritualidad Y Regeneración En La Iconografía De Las Tumbas Te- Banas Privadas De La Dinastía 18 301 EROTISMO, RITUALIDAD Y REGENERACIÓN EN LA ICONOGRAFÍA DE LAS TUMBAS TE- BANAS PRIVADAS DE LA DINASTÍA 18 301 Silvana Fantechi1 Resumen: Las representaciones femeninas en la iconografía funeraria egipcia, sufrieron cambios durante la dinastía 18 (1550-1295 a.C.), fundamentalmente en el período amarniano. Por esta razón, analizaremos en este trabajo la cons- trucción de la imagen femenina en la iconografía de las tumbas tebanas de no- bles de mediados a fines de esa dinastía, con el objetivo de explicar la diferen- ciación genérica de roles a partir de la evidencia que provee su caracterización corporal. Focalizaremos nuestro estudio en las transformaciones observadas en las representaciones de mujeres de la elite, su erotismo y sexualidad manifiesta así como su asociación con deidades femeninas –a partir de la celebración de determinados rituales– y con la regeneración del difunto expresada en ciertos textos literarios. Palabras clave: Egipto; dinastía 18; cuerpo femenino; erotismo; regeneración. Resumo: As representações femininas na iconografia funerária egípcia sofre- ram mudanças durante a 18ª dinastia (1550-1295 a.C.), principalmente no período amarniano. Por esse motivo, neste trabalho, analisaremos a construção da imagem feminina na iconografia das tumbas tebanas de nobres de meados Tema Livre ao final daquela dinastia, com o objetivo de explicar a diferenciação genérica de papéis, a partir da evidência que fornece a caracterização corporal. Focaremos nosso estudo nas transformações observadas nas representações das mulheres da elite, seu erotismo e sexualidade, bem como sua associação com deidades fe- mininas –a partir da celebração de determinados rituais– e com a regeneração dos falecidos como aparece em certos textos literários. Palavras-chave: Egito; 18ª dinastia; corpo feminino; erotismo; regeneração. Abstract: Female representations in Egyptian funerary iconography un- derwent changes during the 18th dynasty (1550-1295 A.D.), mainly in the Amarna period. That is why we will analyse in this paper the framing of the female image in the iconography of noble Theban tombs, from mid to end of that dynasty with the aim of accounting for the generic differentiation of roles, based on the evidence provided by their body characterization. We will focus our study on the transformations observed in the representations of women of the elite, their eroticism and overt sexuality, as well as the association of these with female deities –through the celebration of particular rituals– and with the regeneration of the deceased as expressed in certain literary texts. Keywords: Egypt; 18th dynasty; feminine body; eroticism; regeneration. 1 Doctoranda en Historia Antigua (especialidad Egiptología) por la Universidad Nacional de La Plata. Licenciada en Historia (equivalente a un M.A.) por la Universidad de Buenos Aires. Profesora de Historia Antigua de Oriente en la misma casa de estudios. Actualmente, participa como investigadora en el Proyecto de Conservación y Estudio de la Tumba de Amenmose (TT318) (Sheikh Abd el-Qurna, Luxor, Egipto) y en el Proyecto UBACyT (2018-2020): “Registros funerarios en el Cercano Oriente Antiguo: análisis de estructuras, representaciones e inscripciones”. E-mail: [email protected]. Introducción La tumba egipcia es una entidad única diseñada con el propósito de ase- 302 gurar el renacimiento del difunto en el Más Allá. Los egipcios trazaron un paralelo entre el proceso de nacimiento y renacimiento, y por lo tanto, nece- sitaban de un entorno sexual y erótico en el contexto funerario para lograr tal objetivo. Por tal motivo, nuestro trabajo analizará el cuerpo femenino como expresión principal de la fertilidad, la creación, el renacimiento así como la simbología en objetos y animales vinculados a él en las tumbas privadas de nobles de mediados a fines de la dinastía 18 (1550-1295 a.C.2), centrándonos fundamentalmente en tres rituales funerarios: el banquete, la presentación de ofrendas al propietario del monumento y su esposa, y la procesión funeraria de la que forman parte las plañideras. Las expresiones rituales de la sexualidad y el erotismo Una de las expresiones iconográficas funerarias más representativas de la Tema Livre sexualidad y el erotismo en los monumentos privados es el banquete que podía ser una combinación de celebraciones: la comida3 que tenía lugar luego del enterramiento o en las celebraciones conmemorativas o la que se llevaba a cabo durante los festivales de la necrópolis como la Bella Fiesta del Valle, aunque ninguno de los participantes está representado comiendo. Las imágenes y los juegos visuales de estas escenas tienen un poder mágico y, a su vez, conmemorativo vinculados con la sensualidad, la fertilidad y el renacimiento, ayudando al difunto a triunfar sobre la muerte y alcanzar así la vida eterna en un medio ambiente funerario propicio para tal fin (HARTWIG, 2004, p. 103). La iconografía del banquete asociaba a los participantes vivientes y difuntos con los dioses Amón, Hathor y Osiris así como con los cultos a los ancestros reales y privados. La Bella Fiesta del Valle fue originalmente 2 Seguimos la cronología de Shaw (2007, p. 626). 3 La escena del banquete está temática y simbólicamente ligada a la iconografía de la mesa de ofrendas, a través de la representación de la comida. Esta simbolizaba la potencial incorporación del difunto dentro del reino divino como un ancestro transfigurado por medio del otorgamiento de dones por los dioses (HARTWIG, 2004, p. 103). una celebración hathórica en Tebas y, en la dinastía 18, se vinculó al culto de Amón-Ra. En este festival anual, la imagen de Amón era transportada desde el templo de Karnak, a través del Nilo, pasando por las necrópolis 303 tebanas hasta llegar a la capilla de Hathor en Deir el-Bahari. Las alusiones a esta diosa en estas festividades no sólo referían a ella como “Señora del Oeste” sino también en calidad de deidad del amor, la música, la fertilidad, el nacimiento y la embriaguez. Durante el proceso ritual, los ancestros difuntos se reincorporaban a los vivientes por medio del uso de sustancias que alteraban la mente de los participantes: bebidas con alcohol, fragancias embriagadoras y también la música que rompía las barreras entre este mundo y el Más Allá. En cambio, el banquete funerario estaba relacionado al reino de Osiris y se celebraba luego de que los rituales de enterramiento habían finalizado. Las representaciones que evocan el banquete raramente contienen algún texto que aluda a una connotación temporal que las ubique en algún lugar o momento particular, creando así una imagen eterna (HARTWIG, 2004, p. 98 y 103). En las escenas del banquete, la vestimenta de las invitadas o desnudez de las servidoras son expresiones de sexualidad. Esta últimas tienen prendas tan transparentes que revelan su cuerpo con la zona del pubis marcada, llevando sólo un cinturón en su cadera (WRESZINSKI, 1988, I, Tf. 310; MANNICHE, Tema Livre 1987, fig. 29; MANNICHE, 1988, fig. 59 y 604); otras, como las de la tumba de Ptahemhet, TT77 (MANNICHE, 1988, fig. 6), se encuentran totalmente desnudas y usan el cinturón5. Esto nos induce a pensar que aunque se trataba de adolescentes, su cuerpo femenino evocaba igualmente la fertilidad y que esta debía ser expresada en el ámbito creativo de la tumba con el fin de provocar el renacimiento del propietario del monumento. Y en este sentido, es notable observar que, por el contrario, los servidores adolescentes llevan un faldellín (MANNICHE, 1988, fig. 31, 35, 59 y 60). Pero, además del cuerpo en sí mismo, encontramos una cantidad de elementos que, asociados a las mujeres en las escenas del banquete o en la iconografía de la mesa de ofrendas, tienen que ver con el concepto de la perpetua juventud y el renacimiento del difunto. 4 Tumba de Neferrenpet, TT249. 5 ROBINS (1988, p. 63) sostiene que, a partir de la segunda mitad de la dinastía 18, los invitados al banquete son atendidos por servidoras adolescentes desnudas o semidesnudas. 304 Fig. 1. El banquete en la tumba de Rekhmira (adaptada de MANNICHE, 1987, fig. 29) Los participantes del banquete están figurados sentados sobre sillas o taburetes o sobre sus talones arriba de esterillas de juncos en el piso. Hombres Tema Livre y mujeres están separados con frecuencia por registros. Los servidores, varones y mujeres adolescentes6, atienden a los invitados colocando trenzas de cabello7, aplicando ungüentos, llevándoles copas o vasijas con cerveza o vino y entregán- doles lotos y collares wAH (Fig. 1). El uso de este collar por los invitados, hecho de flores frescas8, reforzaba el tema del renacimiento inherente en las celebra- ciones de la tumba o de la necrópolis como la Bella Fiesta del Valle donde eran distribuidos tanto a los vivientes como a las estatuas de los difuntos y usados sobre sus cabezas o alrededor de sus cuellos (HARTWIG, 2004, p. 99). Las invitadas usan prendas transparentes tan delgadas que sus pechos se traslucen a través del lino, el cual, a su vez, enfatiza las curvas de sus piernas 6 Véase escena de banquete de TT175 (MANNICHE, 1988, fig. 31 y 35). En TT249, los invitados varones son atendidos por servidores y las mujeres por un servidor y una servidora (MANNICHE, 1988, fig. 59 y 60). 7 Como en TT38, tumba de Djeserkarasonb (HARTWIG, 2004, fig. 8). 8 Aunque esquemáticamente se los dibujaba mostrando sólo los pétalos de lotos azules y blancos (HARTWIG, 2004, p. 91). y las caderas. Llevan pesadas y elaboradas pelucas rizadas con trenzas, arre- gladas de acuerdo a la época (MANNICHE, 1987, p. 41) (Fig. 1), símbolo erótico para los egipcios9. 305 Muchos de los participantes en el Banquete sostienen o inhalan lotos o capullos de estos y/o frutos de mandrágoras, cuya fragancia posee cualidades eróticas. Algunas mujeres también los llevan sobre sus cabezas. Cualquiera que inhalase el perfume del loto recibía el don de la vida basada en la conexión de este con la regeneración y la vida eterna.
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